https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

published:12 Sep 2014

views:446855

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

published:12 Sep 2014

views:72945

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

published:12 Sep 2014

views:179396

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

published:12 Sep 2014

views:97724

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

published:12 Sep 2014

views:108549

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Hear our case for Minimalism: https://youtu.be/XEi0Ib-nNGo
Subscribe for new episodes of The Art Assignment every Thursday!
--
Follow us elsewhere for the full Art Assignment experience:
Tumblr: http://theartassignment.com
Response Tumblr: http://all.theartassignment.com
Twitter: http://twitter.com/artassignment
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Facebook: http://www.facebook.com/theartassignment
and don't forget Reddit!: http://www.reddit.com/r/TheArtAssignment

Script:
8 different Painting Styles of Abstraction
Pointillism is a technique of painting in which small, dots of pure color are applied in patterns to form an image. Georges Seurat developed the technique in 1886. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. The practice of Pointillism contrasts with the traditional methods of blending pigments on a palette. Pointillism is similar to the process used by printers, televisions and computer monitors to represent image in color.
Vincent van Gogh's style was characterized by bold, dramatic brush strokes, which expressed emotion and added a feeling of movement to his works. Rather than using realistic colours, he often used paint straight from the tube and deliberately used colors to capture his moods.
Fauvism is the style of les Fauves. Les Fauves is French for 'the wild beasts'. Fauvist style began around 1900 and continued beyond 1910. The leaders of the movement were Henri Matisse and André Derain. The paintings of the Fauves were characterized by wild brush work and bright colours. Their subject matter was abstracted and simplified. Fauvism can be classified as a development of Van Gogh's style fused with Pointillism.
Expressionism originated in Germany at the beginning of the 20th century. Paintings in the expressionist style present the world from the artist's personal perspective through distorting figures and strong colours used for emotional effect in order to evoke moods. Expressionist artists sought to express meaning or experience sometimes suggestive of emotional angst.
Cubism was pioneered by Picasso and Braque. The first Cubist exhibition happened in 1911 in Paris. In Cubist artwork, objects are broken up and reassembled in an abstracted form. Cubist paintings have flattened volume and subdued colours. Subjects of the painting are depicted from multiple viewpoints and confused perspectives which can make it difficult to distinguish objects from each other and from the space they inhabit.
Futurism originated in Italy in the early 20th century and was founded by Filippo Tommaso Marinetti. It emphasized and glorified themes associated with concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. The Futurist painters developed a style by breaking color down into a field of stippled dots and stripes.
Around 1913, David Bomberg was interested in Cubism. He wanted to create a new visual language to express his perceptions of the modern industrial city. He want to translate the life of a great city, its motion, its machinery, into an art based on simplified figure drawings. Bomberg superimposed a grid to break up the composition into geometric sections and used flat colours to obscure the original subject. His paintings have dynamic angular features.
Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, in 1915. Suprematism is an art based upon pure artistic feeling expressed through geometric abstraction rather than on realistic visual depiction of objects.
Subscribe to School of Yule:
http://www.youtube.com/user/SchoolofYule?sub_confirmation=1

Life and career

Collings has a regular monthly column in the art magazine ArtReview ("Great Critics and Their Ideas"), in which he "interviews" historical figures whose influence on art has been decisive. In one of these Søren Kierkegaard says of today's art enthusiasts, "What they're not baffled about, because to them they are as natural as breathing, are the morally indefensible moves that have to be made all the time in order to keep something as trivial as the artworld going."

The Rules

The Rules: Time-tested Secrets for Capturing the Heart of Mr. Right is a self-help book by Ellen Fein and Sherrie Schneider, originally published in 1995.

The book suggests rules that a woman should follow in order to attract and marry the man of her dreams; these rules include that a woman should be "easy to be with but hard to get". The underlying philosophy of The Rules is that women should not aggressively pursue men, but rather ought to get the men to pursue them. A woman who follows The Rules is called a Rules Girl.

Reaction

The book generated much discussion upon its release. Some audiences considered it useful and motivational, while others felt that it was outdated, anti men and antifeminist, or a how-to guide that teaches women to play games that toy with men. Psychology lecturer and therapist Dr Meg John Barker claims that the emergence of seduction communities happened "almost as a direct response to this hard-to-get femininity". Others noted that Fein was an accountant and Schneider a freelance journalist without professional qualification in the subject matter. Fein married and divorced, and has recently remarried. Schneider has never married. The authors admitted they were not professionals in an appearance on NBC's The Today Show.

Moral, a rule or element of a moral code for guiding choices in human behavior

Monasticism, or Monastic Rule, the document giving the way of life to be led by the members of the varying Religious Orders in the Catholic Church and other Christian groups which follow a monastic way of life

1/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

15:08

5/6 The Rules Of Abstraction With Matthew Collings

5/6 The Rules Of Abstraction With Matthew Collings

5/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

15:06

2/6 The Rules Of Abstraction With Matthew Collings

2/6 The Rules Of Abstraction With Matthew Collings

2/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

15:08

4/6 The Rules Of Abstraction With Matthew Collings

4/6 The Rules Of Abstraction With Matthew Collings

4/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

15:03

3/6 The Rules Of Abstraction With Matthew Collings

3/6 The Rules Of Abstraction With Matthew Collings

3/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

14:06

6/6 The Rules Of Abstraction With Matthew Collings

6/6 The Rules Of Abstraction With Matthew Collings

6/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

The Case for Abstraction | The Art Assignment | PBS Digital Studios

For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Hear our case for Minimalism: https://youtu.be/XEi0Ib-nNGo
Subscribe for new episodes of The Art Assignment every Thursday!
--
Follow us elsewhere for the full Art Assignment experience:
Tumblr: http://theartassignment.com
Response Tumblr: http://all.theartassignment.com
Twitter: http://twitter.com/artassignment
Instagram: http://instagram.com/theartassignment/
Facebook: http://www.facebook.com/theartassignment
and don't forget Reddit!: http://www.reddit.com/r/TheArtAssignment

1:15:05

The Power of Abstraction

The Power of Abstraction

The Power of Abstraction

8 Painting Styles of Abstraction

Script:
8 different Painting Styles of Abstraction
Pointillism is a technique of painting in which small, dots of pure color are applied in patterns to form an image. Georges Seurat developed the technique in 1886. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. The practice of Pointillism contrasts with the traditional methods of blending pigments on a palette. Pointillism is similar to the process used by printers, televisions and computer monitors to represent image in color.
Vincent van Gogh's style was characterized by bold, dramatic brush strokes, which expressed emotion and added a feeling of movement to his works. Rather than using realistic colours, he often used paint straight from the tube and deliberately used colors to capture his moods.
Fauvism is the style of les Fauves. Les Fauves is French for 'the wild beasts'. Fauvist style began around 1900 and continued beyond 1910. The leaders of the movement were Henri Matisse and André Derain. The paintings of the Fauves were characterized by wild brush work and bright colours. Their subject matter was abstracted and simplified. Fauvism can be classified as a development of Van Gogh's style fused with Pointillism.
Expressionism originated in Germany at the beginning of the 20th century. Paintings in the expressionist style present the world from the artist's personal perspective through distorting figures and strong colours used for emotional effect in order to evoke moods. Expressionist artists sought to express meaning or experience sometimes suggestive of emotional angst.
Cubism was pioneered by Picasso and Braque. The first Cubist exhibition happened in 1911 in Paris. In Cubist artwork, objects are broken up and reassembled in an abstracted form. Cubist paintings have flattened volume and subdued colours. Subjects of the painting are depicted from multiple viewpoints and confused perspectives which can make it difficult to distinguish objects from each other and from the space they inhabit.
Futurism originated in Italy in the early 20th century and was founded by Filippo Tommaso Marinetti. It emphasized and glorified themes associated with concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. The Futurist painters developed a style by breaking color down into a field of stippled dots and stripes.
Around 1913, David Bomberg was interested in Cubism. He wanted to create a new visual language to express his perceptions of the modern industrial city. He want to translate the life of a great city, its motion, its machinery, into an art based on simplified figure drawings. Bomberg superimposed a grid to break up the composition into geometric sections and used flat colours to obscure the original subject. His paintings have dynamic angular features.
Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, in 1915. Suprematism is an art based upon pure artistic feeling expressed through geometric abstraction rather than on realistic visual depiction of objects.
Subscribe to School of Yule:
http://www.youtube.com/user/SchoolofYule?sub_confirmation=1

1:45:53

The Rules of Abstraction with Matthew Collings (2014)

The Rules of Abstraction with Matthew Collings (2014)

The Rules of Abstraction with Matthew Collings (2014)

3:51

Art & Painting : What Is Abstract Art?

Art & Painting : What Is Abstract Art?

Art & Painting : What Is Abstract Art?

Abstract art encompasses several genres of art, but generally it is art that utilizes color, line and shapes to convey a message or a feeling instead of using a narrative of subject matters. Find examples of abstract art with information from an experienced artist in this free video on art.
Expert: Koorosh Angali
Contact: www.angali.com
Bio: Dr. Koorosh Angali is an accomplished scholar, poet, musician, actor and performance artist.
Filmmaker: ToddGreen

1:00:03

On Abstraction – Zach Tellman

On Abstraction – Zach Tellman

On Abstraction – Zach Tellman

The software industry is awash in folk wisdom. The "rule of three" tells us that we should only create a generic implementation once we've solved a problem three times. The Knuth quote about "premature optimization" either tells us that optimization is always bad, or bad 97% of the time, depending on how much of the quote we bothered to read.
None of these prescriptions describe a context in which they might not apply. Taken literally, most are wildly misleading. To use them properly, we must already have a nuanced understanding of software.
This talk presents a framework to intuit these same insights, but also their boundaries. It provides concepts and vocabulary that enable the viewer to not only explain how a problem should be solved, but why.

ArtEast with Matthew Collings

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

3:32

What is Abstraction with Bob Rankin

What is Abstraction with Bob Rankin

What is Abstraction with Bob Rankin

You have to know the rules to break the rules. In this FreeArtLesson, Bob Rankin breaks down the differences in abstraction and art, such as representational abstraction and non-objective abstraction. Using your ReelArt AcademyStarter Set for Bob Rankin, you'll have everything you need to learn and paint along!
To learn more from Bob Rankin, go to
http://www.jerrysartarama.com/discount-art-supplies/dvds/reel-art-academy-dvds/acrylic-dvds/bob-rankin-dvds.htm

10:07

NEON SPRING NAILS — Nail Tutorial, Rules of Abstraction..

NEON SPRING NAILS — Nail Tutorial, Rules of Abstraction..

NEON SPRING NAILS — Nail Tutorial, Rules of Abstraction..

WHAT YOU NEED:
Pure acetone + cleanup brush (small angled brush)
Base coat
Four brightly colored cream polishes
Chunky glitter polish
White striper polish
Black striper polish
Top coat
WHAT I USED:
SallyHansenDouble DutyCOLOR 1: ColorClub "Edie"
COLOR 2: Color Club "Poptastic"
COLOR 3: Essie "Topless and Barefoot"
COLOR 4: OPI "Look at My Bow!"
Cirque "Magic Hour"
Seche Vite Top Coat
***Kimberly is not sponsored by any company, although she wouldn't mind it if she was. Contact her!
*=-=*=-=*=-=*=-=*=-=*=-=*
Enjoy this mildly complicated, very sophisticated, abstract, neon, colorful look! In this video I've added some graphics to allow you to follow along with the complicated sequencing of this look. It's easier than it looks! It just takes a bit of planning.
I also explain a little bit about the "Rules of Abstraction" or the design concepts and theories that I used to create this intricate yet unified look.
Happy painting!
xoxoxo KC
PS - Oh, if you feel inspired by these nails and re-create this look be sure to tag me on Instagram @kimberlyclarkofficial!
=-=-=-=-=-=-=-=-=-=-=-=-=
Music by Kevin MacLeod at incompetech.com:
"Electro Cabello"
Music Provided by NoCopyrightSounds:
Electro-Light - "Symbolism": https://youtu.be/__CRWE-L45k
Electro-Light on SoundCloud: https://soundcloud.com/maskedacoustic
For booking and inquiries email kimclarkqueen@gmail.com
FOLLOW @kimberlyclarkofficial on Instagram.

7:42

Art Composition, The Rule of Thirds, Painting, Artist JOSE TRUJILLO

Art Composition, The Rule of Thirds, Painting, Artist JOSE TRUJILLO

Art Composition, The Rule of Thirds, Painting, Artist JOSE TRUJILLO

Original oil paintings by fine art painter JoseTrujillo To view work on eBay: http://stores.ebay.com/jtrujillopaintings21
or visit: http://www.josetrujilloart.com

History of Art │The Rules Of Abstraction With Matthew Collings 4 of 6

1/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

5/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

2/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

4/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

3/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

6/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

The Case for Abstraction | The Art Assignment | PBS Digital Studios

For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Hear our case for Minimalism: https://youtu.be/XEi0Ib-nNGo
Subscribe for new episodes of The Art Assignment every Thursday!
--
Follow us elsewhere for the full Art Assignment experience:
Tumblr: http://theartassignment.com
Response Tumblr: http://all.theartassignment.com
Twitter: http://twitter.com/artassignment
Instagram: http://instagram.com/theartassignment/
Facebook: http://www.facebook.com/theartassignment
an...

published: 28 Jul 2016

The Power of Abstraction

8 Painting Styles of Abstraction

Script:
8 different Painting Styles of Abstraction
Pointillism is a technique of painting in which small, dots of pure color are applied in patterns to form an image. Georges Seurat developed the technique in 1886. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. The practice of Pointillism contrasts with the traditional methods of blending pigments on a palette. Pointillism is similar to the process used by printers, televisions and computer monitors to represent image in color.
Vincent van Gogh's style was characterized by bold, dramatic brush strokes, which expressed emotion and added a feeling of movement to his works. Rather than using realistic colours, he often used paint straight from the tube and deli...

published: 22 Mar 2013

The Rules of Abstraction with Matthew Collings (2014)

published: 10 Jan 2018

Art & Painting : What Is Abstract Art?

Abstract art encompasses several genres of art, but generally it is art that utilizes color, line and shapes to convey a message or a feeling instead of using a narrative of subject matters. Find examples of abstract art with information from an experienced artist in this free video on art.
Expert: Koorosh Angali
Contact: www.angali.com
Bio: Dr. Koorosh Angali is an accomplished scholar, poet, musician, actor and performance artist.
Filmmaker: ToddGreen

published: 19 May 2009

On Abstraction – Zach Tellman

The software industry is awash in folk wisdom. The "rule of three" tells us that we should only create a generic implementation once we've solved a problem three times. The Knuth quote about "premature optimization" either tells us that optimization is always bad, or bad 97% of the time, depending on how much of the quote we bothered to read.
None of these prescriptions describe a context in which they might not apply. Taken literally, most are wildly misleading. To use them properly, we must already have a nuanced understanding of software.
This talk presents a framework to intuit these same insights, but also their boundaries. It provides concepts and vocabulary that enable the viewer to not only explain how a problem should be solved, but why.

ArtEast with Matthew Collings

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

published: 02 Dec 2016

What is Abstraction with Bob Rankin

You have to know the rules to break the rules. In this FreeArtLesson, Bob Rankin breaks down the differences in abstraction and art, such as representational abstraction and non-objective abstraction. Using your ReelArt AcademyStarter Set for Bob Rankin, you'll have everything you need to learn and paint along!
To learn more from Bob Rankin, go to
http://www.jerrysartarama.com/discount-art-supplies/dvds/reel-art-academy-dvds/acrylic-dvds/bob-rankin-dvds.htm

published: 31 Dec 2013

NEON SPRING NAILS — Nail Tutorial, Rules of Abstraction..

WHAT YOU NEED:
Pure acetone + cleanup brush (small angled brush)
Base coat
Four brightly colored cream polishes
Chunky glitter polish
White striper polish
Black striper polish
Top coat
WHAT I USED:
SallyHansenDouble DutyCOLOR 1: ColorClub "Edie"
COLOR 2: Color Club "Poptastic"
COLOR 3: Essie "Topless and Barefoot"
COLOR 4: OPI "Look at My Bow!"
Cirque "Magic Hour"
Seche Vite Top Coat
***Kimberly is not sponsored by any company, although she wouldn't mind it if she was. Contact her!
*=-=*=-=*=-=*=-=*=-=*=-=*
Enjoy this mildly complicated, very sophisticated, abstract, neon, colorful look! In this video I've added some graphics to allow you to follow along with the complicated sequencing of this look. It's easier than it looks! It just takes a bit of planning.
I also explain a littl...

published: 04 Mar 2016

Art Composition, The Rule of Thirds, Painting, Artist JOSE TRUJILLO

Original oil paintings by fine art painter JoseTrujillo To view work on eBay: http://stores.ebay.com/jtrujillopaintings21
or visit: http://www.josetrujilloart.com

History of Art │The Rules Of Abstraction With Matthew Collings 4 of 6

1/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

5/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

2/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

4/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

3/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

6/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

The Case for Abstraction | The Art Assignment | PBS Digital Studios

For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopp...

For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Hear our case for Minimalism: https://youtu.be/XEi0Ib-nNGo
Subscribe for new episodes of The Art Assignment every Thursday!
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Tumblr: http://theartassignment.com
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and don't forget Reddit!: http://www.reddit.com/r/TheArtAssignment

For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Hear our case for Minimalism: https://youtu.be/XEi0Ib-nNGo
Subscribe for new episodes of The Art Assignment every Thursday!
--
Follow us elsewhere for the full Art Assignment experience:
Tumblr: http://theartassignment.com
Response Tumblr: http://all.theartassignment.com
Twitter: http://twitter.com/artassignment
Instagram: http://instagram.com/theartassignment/
Facebook: http://www.facebook.com/theartassignment
and don't forget Reddit!: http://www.reddit.com/r/TheArtAssignment

8 Painting Styles of Abstraction

Script:
8 different Painting Styles of Abstraction
Pointillism is a technique of painting in which small, dots of pure color are applied in patterns to form...

Script:
8 different Painting Styles of Abstraction
Pointillism is a technique of painting in which small, dots of pure color are applied in patterns to form an image. Georges Seurat developed the technique in 1886. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. The practice of Pointillism contrasts with the traditional methods of blending pigments on a palette. Pointillism is similar to the process used by printers, televisions and computer monitors to represent image in color.
Vincent van Gogh's style was characterized by bold, dramatic brush strokes, which expressed emotion and added a feeling of movement to his works. Rather than using realistic colours, he often used paint straight from the tube and deliberately used colors to capture his moods.
Fauvism is the style of les Fauves. Les Fauves is French for 'the wild beasts'. Fauvist style began around 1900 and continued beyond 1910. The leaders of the movement were Henri Matisse and André Derain. The paintings of the Fauves were characterized by wild brush work and bright colours. Their subject matter was abstracted and simplified. Fauvism can be classified as a development of Van Gogh's style fused with Pointillism.
Expressionism originated in Germany at the beginning of the 20th century. Paintings in the expressionist style present the world from the artist's personal perspective through distorting figures and strong colours used for emotional effect in order to evoke moods. Expressionist artists sought to express meaning or experience sometimes suggestive of emotional angst.
Cubism was pioneered by Picasso and Braque. The first Cubist exhibition happened in 1911 in Paris. In Cubist artwork, objects are broken up and reassembled in an abstracted form. Cubist paintings have flattened volume and subdued colours. Subjects of the painting are depicted from multiple viewpoints and confused perspectives which can make it difficult to distinguish objects from each other and from the space they inhabit.
Futurism originated in Italy in the early 20th century and was founded by Filippo Tommaso Marinetti. It emphasized and glorified themes associated with concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. The Futurist painters developed a style by breaking color down into a field of stippled dots and stripes.
Around 1913, David Bomberg was interested in Cubism. He wanted to create a new visual language to express his perceptions of the modern industrial city. He want to translate the life of a great city, its motion, its machinery, into an art based on simplified figure drawings. Bomberg superimposed a grid to break up the composition into geometric sections and used flat colours to obscure the original subject. His paintings have dynamic angular features.
Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, in 1915. Suprematism is an art based upon pure artistic feeling expressed through geometric abstraction rather than on realistic visual depiction of objects.
Subscribe to School of Yule:
http://www.youtube.com/user/SchoolofYule?sub_confirmation=1

Script:
8 different Painting Styles of Abstraction
Pointillism is a technique of painting in which small, dots of pure color are applied in patterns to form an image. Georges Seurat developed the technique in 1886. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. The practice of Pointillism contrasts with the traditional methods of blending pigments on a palette. Pointillism is similar to the process used by printers, televisions and computer monitors to represent image in color.
Vincent van Gogh's style was characterized by bold, dramatic brush strokes, which expressed emotion and added a feeling of movement to his works. Rather than using realistic colours, he often used paint straight from the tube and deliberately used colors to capture his moods.
Fauvism is the style of les Fauves. Les Fauves is French for 'the wild beasts'. Fauvist style began around 1900 and continued beyond 1910. The leaders of the movement were Henri Matisse and André Derain. The paintings of the Fauves were characterized by wild brush work and bright colours. Their subject matter was abstracted and simplified. Fauvism can be classified as a development of Van Gogh's style fused with Pointillism.
Expressionism originated in Germany at the beginning of the 20th century. Paintings in the expressionist style present the world from the artist's personal perspective through distorting figures and strong colours used for emotional effect in order to evoke moods. Expressionist artists sought to express meaning or experience sometimes suggestive of emotional angst.
Cubism was pioneered by Picasso and Braque. The first Cubist exhibition happened in 1911 in Paris. In Cubist artwork, objects are broken up and reassembled in an abstracted form. Cubist paintings have flattened volume and subdued colours. Subjects of the painting are depicted from multiple viewpoints and confused perspectives which can make it difficult to distinguish objects from each other and from the space they inhabit.
Futurism originated in Italy in the early 20th century and was founded by Filippo Tommaso Marinetti. It emphasized and glorified themes associated with concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. The Futurist painters developed a style by breaking color down into a field of stippled dots and stripes.
Around 1913, David Bomberg was interested in Cubism. He wanted to create a new visual language to express his perceptions of the modern industrial city. He want to translate the life of a great city, its motion, its machinery, into an art based on simplified figure drawings. Bomberg superimposed a grid to break up the composition into geometric sections and used flat colours to obscure the original subject. His paintings have dynamic angular features.
Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, in 1915. Suprematism is an art based upon pure artistic feeling expressed through geometric abstraction rather than on realistic visual depiction of objects.
Subscribe to School of Yule:
http://www.youtube.com/user/SchoolofYule?sub_confirmation=1

Art & Painting : What Is Abstract Art?

Abstract art encompasses several genres of art, but generally it is art that utilizes color, line and shapes to convey a message or a feeling instead of using a...

Abstract art encompasses several genres of art, but generally it is art that utilizes color, line and shapes to convey a message or a feeling instead of using a narrative of subject matters. Find examples of abstract art with information from an experienced artist in this free video on art.
Expert: Koorosh Angali
Contact: www.angali.com
Bio: Dr. Koorosh Angali is an accomplished scholar, poet, musician, actor and performance artist.
Filmmaker: ToddGreen

Abstract art encompasses several genres of art, but generally it is art that utilizes color, line and shapes to convey a message or a feeling instead of using a narrative of subject matters. Find examples of abstract art with information from an experienced artist in this free video on art.
Expert: Koorosh Angali
Contact: www.angali.com
Bio: Dr. Koorosh Angali is an accomplished scholar, poet, musician, actor and performance artist.
Filmmaker: ToddGreen

The software industry is awash in folk wisdom. The "rule of three" tells us that we should only create a generic implementation once we've solved a problem three times. The Knuth quote about "premature optimization" either tells us that optimization is always bad, or bad 97% of the time, depending on how much of the quote we bothered to read.
None of these prescriptions describe a context in which they might not apply. Taken literally, most are wildly misleading. To use them properly, we must already have a nuanced understanding of software.
This talk presents a framework to intuit these same insights, but also their boundaries. It provides concepts and vocabulary that enable the viewer to not only explain how a problem should be solved, but why.

The software industry is awash in folk wisdom. The "rule of three" tells us that we should only create a generic implementation once we've solved a problem three times. The Knuth quote about "premature optimization" either tells us that optimization is always bad, or bad 97% of the time, depending on how much of the quote we bothered to read.
None of these prescriptions describe a context in which they might not apply. Taken literally, most are wildly misleading. To use them properly, we must already have a nuanced understanding of software.
This talk presents a framework to intuit these same insights, but also their boundaries. It provides concepts and vocabulary that enable the viewer to not only explain how a problem should be solved, but why.

ArtEast with Matthew Collings

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly c...

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

What is Abstraction with Bob Rankin

You have to know the rules to break the rules. In this FreeArtLesson, Bob Rankin breaks down the differences in abstraction and art, such as representational ...

You have to know the rules to break the rules. In this FreeArtLesson, Bob Rankin breaks down the differences in abstraction and art, such as representational abstraction and non-objective abstraction. Using your ReelArt AcademyStarter Set for Bob Rankin, you'll have everything you need to learn and paint along!
To learn more from Bob Rankin, go to
http://www.jerrysartarama.com/discount-art-supplies/dvds/reel-art-academy-dvds/acrylic-dvds/bob-rankin-dvds.htm

You have to know the rules to break the rules. In this FreeArtLesson, Bob Rankin breaks down the differences in abstraction and art, such as representational abstraction and non-objective abstraction. Using your ReelArt AcademyStarter Set for Bob Rankin, you'll have everything you need to learn and paint along!
To learn more from Bob Rankin, go to
http://www.jerrysartarama.com/discount-art-supplies/dvds/reel-art-academy-dvds/acrylic-dvds/bob-rankin-dvds.htm

WHAT YOU NEED:
Pure acetone + cleanup brush (small angled brush)
Base coat
Four brightly colored cream polishes
Chunky glitter polish
White striper polish
Black striper polish
Top coat
WHAT I USED:
SallyHansenDouble DutyCOLOR 1: ColorClub "Edie"
COLOR 2: Color Club "Poptastic"
COLOR 3: Essie "Topless and Barefoot"
COLOR 4: OPI "Look at My Bow!"
Cirque "Magic Hour"
Seche Vite Top Coat
***Kimberly is not sponsored by any company, although she wouldn't mind it if she was. Contact her!
*=-=*=-=*=-=*=-=*=-=*=-=*
Enjoy this mildly complicated, very sophisticated, abstract, neon, colorful look! In this video I've added some graphics to allow you to follow along with the complicated sequencing of this look. It's easier than it looks! It just takes a bit of planning.
I also explain a little bit about the "Rules of Abstraction" or the design concepts and theories that I used to create this intricate yet unified look.
Happy painting!
xoxoxo KC
PS - Oh, if you feel inspired by these nails and re-create this look be sure to tag me on Instagram @kimberlyclarkofficial!
=-=-=-=-=-=-=-=-=-=-=-=-=
Music by Kevin MacLeod at incompetech.com:
"Electro Cabello"
Music Provided by NoCopyrightSounds:
Electro-Light - "Symbolism": https://youtu.be/__CRWE-L45k
Electro-Light on SoundCloud: https://soundcloud.com/maskedacoustic
For booking and inquiries email kimclarkqueen@gmail.com
FOLLOW @kimberlyclarkofficial on Instagram.

WHAT YOU NEED:
Pure acetone + cleanup brush (small angled brush)
Base coat
Four brightly colored cream polishes
Chunky glitter polish
White striper polish
Black striper polish
Top coat
WHAT I USED:
SallyHansenDouble DutyCOLOR 1: ColorClub "Edie"
COLOR 2: Color Club "Poptastic"
COLOR 3: Essie "Topless and Barefoot"
COLOR 4: OPI "Look at My Bow!"
Cirque "Magic Hour"
Seche Vite Top Coat
***Kimberly is not sponsored by any company, although she wouldn't mind it if she was. Contact her!
*=-=*=-=*=-=*=-=*=-=*=-=*
Enjoy this mildly complicated, very sophisticated, abstract, neon, colorful look! In this video I've added some graphics to allow you to follow along with the complicated sequencing of this look. It's easier than it looks! It just takes a bit of planning.
I also explain a little bit about the "Rules of Abstraction" or the design concepts and theories that I used to create this intricate yet unified look.
Happy painting!
xoxoxo KC
PS - Oh, if you feel inspired by these nails and re-create this look be sure to tag me on Instagram @kimberlyclarkofficial!
=-=-=-=-=-=-=-=-=-=-=-=-=
Music by Kevin MacLeod at incompetech.com:
"Electro Cabello"
Music Provided by NoCopyrightSounds:
Electro-Light - "Symbolism": https://youtu.be/__CRWE-L45k
Electro-Light on SoundCloud: https://soundcloud.com/maskedacoustic
For booking and inquiries email kimclarkqueen@gmail.com
FOLLOW @kimberlyclarkofficial on Instagram.

ArtEast with Matthew Collings

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

1/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

4/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

Gavin Turk in Conversation with Matthew Collings

published: 23 Sep 2016

5/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

3/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

2/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

Presented March 21, 2013 at the Nasher Sculpture Center.
British artist and arts communicatorMatthew Collings of Biggs & Collings gives a presentation discussing the reflections of Art History present in his collaborative painting practice with mosaic artist Emma Biggs.
Biggs and Collings are interested in something they have noticed by looking at art from the past. Art, as it used to be understood, has come to an end. But what strikes them is that old ideas and habits of mind are hard to shake off. Former ways of thinking constantly influence behaviour today. You could say that an example of this phenomenon is the way the aestheticisation of the art object has been replaced by the aestheticisation of the art experience. The thorny issue of how the past is present in what we, as a soci...

published: 27 Aug 2015

1/4 Turner's Thames

Playlist : https://www.youtube.com/watch?v=aQH29QIyt7Q&index=1&list=PLM4S2hGZDSE6q6_mIZx10iphnzd6vCMVs
First broadcast: Jun 2012.
In this documentary, the presenter and art critic Matthew Collings explores how Turner, the artist of light, makes light the vehicle of feeling in his work, and how he found inspiration for that feeling in the waters of the river Thames.

published: 17 Mar 2016

Matthew Collings on David Bowie’s Desire for Raw Emotion

Art critic and author Matthew Collings first met David Bowie in 1997 when Bowie was the publisher of his book. Struck by the late icon’s artistic passion, Collings reflects on the works comprising Bowie/Collector to be offered at Sotheby’sLondon on 10–11 November. Ahead of the sale, watch the video to discover how Bowie’s art collection reflects his fascination with those outside society, or as Collings puts it, “the romantic Bohemian.”
Learn More: http://www.sothebys.com/en/auctions/2016/bowie-collector-part-i-modern-contemporary-art-evening-auction-l16142.htmlDownload The Sotheby’s App: https://itunes.apple.com/us/app/sothebys/id1061156465?mt=8
FOR MORE NEWS FROM SOTHEBY’S
Newsletter:http://www.sothebys.com/en/news-video/blogs/all-blogs/sothebys/2017/05/stay-connected.html
Instag...

published: 11 Oct 2016

David Bowie's private art collection to be unveiled for the first time

6/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living ar...

published: 12 Sep 2014

In Conversation: Clem Crosby with Matthew Collings

Recognised as one of the UK's leading abstract painters, ClemCrosby discusses his solo exhibition at Pippy Houldsworth Gallery with renowned art writer and TV presenterMatthew Collings. This conversation gives an insight into Crosby's process, influences and his unique relationship to painting.

Matthew Collings: The art market judges what will sell, not what is the best quality - IQ2 debates

http://www.intelligencesquared.com/events/art-market
Matthew Collings argues against the motion "The art market is the best judge of good art" in this IQ2 debate at Saatchi Gallery on 7th October2011.
Event info:
Picasso's Nude, Green Leaves and Bust became the world's most expensive painting last year when it sold for £65 million. A stupendous price, but one that reflects Picasso's status as one of the giants -- if not the overriding genius -- of 20th-century art. But do the high prices fetched at auction always indicate artistic merit? Aren't they often the result of a fraught bidding war between two super-rich collectors? Doesn't the $25 million stumped up for Jeff Koons' giant balloon model say more about the power of hype than the merit of the work itself? What's more, the market ...

ArtEast with Matthew Collings

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly c...

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

Matthew Collings, art writer and broadcaster, sums up in opposition to the motion, "This House Believes that conceptual art just isn't Art", at the Oxford Union, 5 November 2009.
In proposition: Alice Thomas, David Armitage, Mark Leckey, and Charles Thomson.
In opposition: Dr Stephen Deuchar, Miroslaw Balka, Adrian Searle, and Matthew Collings.
The motion was defeated.
Used by kind permission of Matthew Collings.
Video from footage courtesy of RickFriend: http://www.productionfriend.com
Apologies for the poor quality of this video. It was recorded purely for research and not intended for viewing. We thought it was of sufficient interest to make it available anyway.
See Matthew Collings part 2 at: http://www.youtube.com/watch?v=db11xUM7MAA
See Charles Thomson's speech at: http://www.youtube.com/watch?v=0UBGUF0C_XM

Matthew Collings, art writer and broadcaster, sums up in opposition to the motion, "This House Believes that conceptual art just isn't Art", at the Oxford Union, 5 November 2009.
In proposition: Alice Thomas, David Armitage, Mark Leckey, and Charles Thomson.
In opposition: Dr Stephen Deuchar, Miroslaw Balka, Adrian Searle, and Matthew Collings.
The motion was defeated.
Used by kind permission of Matthew Collings.
Video from footage courtesy of RickFriend: http://www.productionfriend.com
Apologies for the poor quality of this video. It was recorded purely for research and not intended for viewing. We thought it was of sufficient interest to make it available anyway.
See Matthew Collings part 2 at: http://www.youtube.com/watch?v=db11xUM7MAA
See Charles Thomson's speech at: http://www.youtube.com/watch?v=0UBGUF0C_XM

1/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

4/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

5/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

3/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

2/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

Presented March 21, 2013 at the Nasher Sculpture Center.
British artist and arts communicatorMatthew Collings of Biggs & Collings gives a presentation discussing the reflections of Art History present in his collaborative painting practice with mosaic artist Emma Biggs.
Biggs and Collings are interested in something they have noticed by looking at art from the past. Art, as it used to be understood, has come to an end. But what strikes them is that old ideas and habits of mind are hard to shake off. Former ways of thinking constantly influence behaviour today. You could say that an example of this phenomenon is the way the aestheticisation of the art object has been replaced by the aestheticisation of the art experience. The thorny issue of how the past is present in what we, as a society, see and do, and the way in which it may differ from what we believe we say and do, is at the heart of Biggs’ and Collings’ work.
Matthew Collings is an English writer-critic/artist/curator/television presenter. Famous in the UK for bringing new developments in art to the attention of a mass audience, Collings’ TV documentaries and books have been described as “knowing,” “sly as a fox” and “hilariously horrible.” The international art magazine, 'Frieze', describes him as a “laconic, affectionately deprecating critic of both his subject and himself.” 'Artforum' described his insiders’ guide to the art scene, 'Blimey! From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst', as “the most popular contemporary art book ever.” The late, revered Brit art critic, David Sylvester, called him “fearless,” and when his six part series 'This IsModern Art' was aired on prime time national TV, it won a BAFTA for its combination of knowledge, humor and icy weirdness.
The Nasher Sculpture Center’s ongoing 360 Speaker Series features conversations and lectures on the ever-expanding definition of sculpture. Guests are invited to witness first-hand accounts of the inspiration behind some of the world’s most innovative artwork, architecture and design.
Find out more about the 360 Speaker Series and view presentation by past speakers at http://www.nashersculpturecenter.org/360
Stay in touch with the Nasher Sculpture Center via social media:
Facebook: https://www.facebook.com/NasherSculptureCenter
Twitter: https://twitter.com/nashersculpture
Pinterest: https://www.pinterest.com/nashersculpture/
Instagram: https://www.instagram.com/nashersculpturecenter/
Periscope: http://www.periscope.tv/nashersculpture
The 360 videography project is supported by Suzanne and Ansel Aberly. This support enables digital recording of all 360 Speaker Series programs and the creation of an online archive for learners of all ages.

Presented March 21, 2013 at the Nasher Sculpture Center.
British artist and arts communicatorMatthew Collings of Biggs & Collings gives a presentation discussing the reflections of Art History present in his collaborative painting practice with mosaic artist Emma Biggs.
Biggs and Collings are interested in something they have noticed by looking at art from the past. Art, as it used to be understood, has come to an end. But what strikes them is that old ideas and habits of mind are hard to shake off. Former ways of thinking constantly influence behaviour today. You could say that an example of this phenomenon is the way the aestheticisation of the art object has been replaced by the aestheticisation of the art experience. The thorny issue of how the past is present in what we, as a society, see and do, and the way in which it may differ from what we believe we say and do, is at the heart of Biggs’ and Collings’ work.
Matthew Collings is an English writer-critic/artist/curator/television presenter. Famous in the UK for bringing new developments in art to the attention of a mass audience, Collings’ TV documentaries and books have been described as “knowing,” “sly as a fox” and “hilariously horrible.” The international art magazine, 'Frieze', describes him as a “laconic, affectionately deprecating critic of both his subject and himself.” 'Artforum' described his insiders’ guide to the art scene, 'Blimey! From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst', as “the most popular contemporary art book ever.” The late, revered Brit art critic, David Sylvester, called him “fearless,” and when his six part series 'This IsModern Art' was aired on prime time national TV, it won a BAFTA for its combination of knowledge, humor and icy weirdness.
The Nasher Sculpture Center’s ongoing 360 Speaker Series features conversations and lectures on the ever-expanding definition of sculpture. Guests are invited to witness first-hand accounts of the inspiration behind some of the world’s most innovative artwork, architecture and design.
Find out more about the 360 Speaker Series and view presentation by past speakers at http://www.nashersculpturecenter.org/360
Stay in touch with the Nasher Sculpture Center via social media:
Facebook: https://www.facebook.com/NasherSculptureCenter
Twitter: https://twitter.com/nashersculpture
Pinterest: https://www.pinterest.com/nashersculpture/
Instagram: https://www.instagram.com/nashersculpturecenter/
Periscope: http://www.periscope.tv/nashersculpture
The 360 videography project is supported by Suzanne and Ansel Aberly. This support enables digital recording of all 360 Speaker Series programs and the creation of an online archive for learners of all ages.

1/4 Turner's Thames

Playlist : https://www.youtube.com/watch?v=aQH29QIyt7Q&index=1&list=PLM4S2hGZDSE6q6_mIZx10iphnzd6vCMVs
First broadcast: Jun 2012.
In this documentary, the prese...

Playlist : https://www.youtube.com/watch?v=aQH29QIyt7Q&index=1&list=PLM4S2hGZDSE6q6_mIZx10iphnzd6vCMVs
First broadcast: Jun 2012.
In this documentary, the presenter and art critic Matthew Collings explores how Turner, the artist of light, makes light the vehicle of feeling in his work, and how he found inspiration for that feeling in the waters of the river Thames.

Playlist : https://www.youtube.com/watch?v=aQH29QIyt7Q&index=1&list=PLM4S2hGZDSE6q6_mIZx10iphnzd6vCMVs
First broadcast: Jun 2012.
In this documentary, the presenter and art critic Matthew Collings explores how Turner, the artist of light, makes light the vehicle of feeling in his work, and how he found inspiration for that feeling in the waters of the river Thames.

Art critic and author Matthew Collings first met David Bowie in 1997 when Bowie was the publisher of his book. Struck by the late icon’s artistic passion, Collings reflects on the works comprising Bowie/Collector to be offered at Sotheby’sLondon on 10–11 November. Ahead of the sale, watch the video to discover how Bowie’s art collection reflects his fascination with those outside society, or as Collings puts it, “the romantic Bohemian.”
Learn More: http://www.sothebys.com/en/auctions/2016/bowie-collector-part-i-modern-contemporary-art-evening-auction-l16142.htmlDownload The Sotheby’s App: https://itunes.apple.com/us/app/sothebys/id1061156465?mt=8
FOR MORE NEWS FROM SOTHEBY’S
Newsletter:http://www.sothebys.com/en/news-video/blogs/all-blogs/sothebys/2017/05/stay-connected.html
Instagram: https://www.instagram.com/sothebys/
Facebook: https://www.facebook.com/sothebys
Twitter: https://twitter.com/sothebys
Pinterest: https://www.pinterest.com/sothebys
Weibo: http://www.weibo.com/sothebyshongkong?is_hot=1
WeChat: sothebyshongkong
Snapchat: Sothebys

Art critic and author Matthew Collings first met David Bowie in 1997 when Bowie was the publisher of his book. Struck by the late icon’s artistic passion, Collings reflects on the works comprising Bowie/Collector to be offered at Sotheby’sLondon on 10–11 November. Ahead of the sale, watch the video to discover how Bowie’s art collection reflects his fascination with those outside society, or as Collings puts it, “the romantic Bohemian.”
Learn More: http://www.sothebys.com/en/auctions/2016/bowie-collector-part-i-modern-contemporary-art-evening-auction-l16142.htmlDownload The Sotheby’s App: https://itunes.apple.com/us/app/sothebys/id1061156465?mt=8
FOR MORE NEWS FROM SOTHEBY’S
Newsletter:http://www.sothebys.com/en/news-video/blogs/all-blogs/sothebys/2017/05/stay-connected.html
Instagram: https://www.instagram.com/sothebys/
Facebook: https://www.facebook.com/sothebys
Twitter: https://twitter.com/sothebys
Pinterest: https://www.pinterest.com/sothebys
Weibo: http://www.weibo.com/sothebyshongkong?is_hot=1
WeChat: sothebyshongkong
Snapchat: Sothebys

published:11 Oct 2016

views:3299

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David Bowie's private art collection to be unveiled for the first time

The artist and writer Matthew Collings reviews David Bowie's private art collection.
Works the late singer quietly collected over the years to go on display before being auctioned at Sotheby’s
The musician's life as a collector was something he kept almost entirely hidden from public view.
But now, nearly 300 works by artists including Damien Hirst, Henry Moore and Marcel Duchamp will go on display at Sotheby's in London, before being sold at auction in November.
The paintings are collectively expected to fetch more than £10m.
"David Bowie's collection offers a unique insight into the personal world of one of the 20th Century's greatest creative spirits," said OliverBarker, chairman of Sotheby's Europe.
The "Bowie/Collector" three-part sale in November will feature around 400 items from the pop icon's private collection and is seen fetching "in excess of 10 million pounds" ($13.24 million), a spokeswoman for the auction house said.
Bowie, who died aged 69 in January, straddled the worlds of music, fashion, drama and art for five decades, and was known for some of the most innovative songs of his generation.
However his art collector side "was something he kept almost entirely hidden from public view", Sotheby's said.
"Eclectic, unscripted, understated: David Bowie's collection offers a unique insight into the personal world of one of the 20th century's greatest creative spirits," Oliver Barker, Sotheby's Europe chairman, said in a statement.
Among works to be featured is late American artist Jean-Michel Basquiat's "Air Power" painting, estimated between 2.5 million and 3.5 million pounds, and Hirst's kaleidoscopic "Beautiful, Shattering, Slashing, Violent, Pinky, Hacking, Sphincter Painting", seen fetching 250,000–350,000 pounds.
There are also sculptures and design furniture, including a 1960s record player by Italian brothers Achille and Pier Giacomo Castiglioni.
The collection is particularly rich in 20th-centuryBritish art, including two brilliantly coloured “spin” paintings by Hirst, and works by Frank Auerbach, Stanley Spencer, Patrick Caulfield, Peter Lanyon, and Graham Sutherland. He once said of Auerbach’s densely worked, almost sculptural paintings: “My God, yeah. I want to sound like that looks.” He lent – anonymously – a key work, a portrait of Auerbach’s cousin Gerda, to the major retrospective on the artist in 2001.
It will also include Air Power, a major graffiti painting by the American artist Jean-Michel Basquiat, which alone is estimated by Sotheby’s to be worth up to £3.5m.
The furniture includes pieces by the influential design collective MemphisMilano.
A spokesman for Bowie’s estate said: “David’s art collection was fuelled by personal interest and compiled out of passion. He always sought and encouraged loans from the collection and enjoyed sharing the works in his custody.
“Though his family are keeping certain pieces of particular personal significance, it is now time to give others the opportunity to appreciate – and acquire – the art and objects he so admired.”

The artist and writer Matthew Collings reviews David Bowie's private art collection.
Works the late singer quietly collected over the years to go on display before being auctioned at Sotheby’s
The musician's life as a collector was something he kept almost entirely hidden from public view.
But now, nearly 300 works by artists including Damien Hirst, Henry Moore and Marcel Duchamp will go on display at Sotheby's in London, before being sold at auction in November.
The paintings are collectively expected to fetch more than £10m.
"David Bowie's collection offers a unique insight into the personal world of one of the 20th Century's greatest creative spirits," said OliverBarker, chairman of Sotheby's Europe.
The "Bowie/Collector" three-part sale in November will feature around 400 items from the pop icon's private collection and is seen fetching "in excess of 10 million pounds" ($13.24 million), a spokeswoman for the auction house said.
Bowie, who died aged 69 in January, straddled the worlds of music, fashion, drama and art for five decades, and was known for some of the most innovative songs of his generation.
However his art collector side "was something he kept almost entirely hidden from public view", Sotheby's said.
"Eclectic, unscripted, understated: David Bowie's collection offers a unique insight into the personal world of one of the 20th century's greatest creative spirits," Oliver Barker, Sotheby's Europe chairman, said in a statement.
Among works to be featured is late American artist Jean-Michel Basquiat's "Air Power" painting, estimated between 2.5 million and 3.5 million pounds, and Hirst's kaleidoscopic "Beautiful, Shattering, Slashing, Violent, Pinky, Hacking, Sphincter Painting", seen fetching 250,000–350,000 pounds.
There are also sculptures and design furniture, including a 1960s record player by Italian brothers Achille and Pier Giacomo Castiglioni.
The collection is particularly rich in 20th-centuryBritish art, including two brilliantly coloured “spin” paintings by Hirst, and works by Frank Auerbach, Stanley Spencer, Patrick Caulfield, Peter Lanyon, and Graham Sutherland. He once said of Auerbach’s densely worked, almost sculptural paintings: “My God, yeah. I want to sound like that looks.” He lent – anonymously – a key work, a portrait of Auerbach’s cousin Gerda, to the major retrospective on the artist in 2001.
It will also include Air Power, a major graffiti painting by the American artist Jean-Michel Basquiat, which alone is estimated by Sotheby’s to be worth up to £3.5m.
The furniture includes pieces by the influential design collective MemphisMilano.
A spokesman for Bowie’s estate said: “David’s art collection was fuelled by personal interest and compiled out of passion. He always sought and encouraged loans from the collection and enjoyed sharing the works in his custody.
“Though his family are keeping certain pieces of particular personal significance, it is now time to give others the opportunity to appreciate – and acquire – the art and objects he so admired.”

6/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic M...

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

In Conversation: Clem Crosby with Matthew Collings

Recognised as one of the UK's leading abstract painters, ClemCrosby discusses his solo exhibition at Pippy Houldsworth Gallery with renowned art writer and TV ...

Recognised as one of the UK's leading abstract painters, ClemCrosby discusses his solo exhibition at Pippy Houldsworth Gallery with renowned art writer and TV presenterMatthew Collings. This conversation gives an insight into Crosby's process, influences and his unique relationship to painting.

Recognised as one of the UK's leading abstract painters, ClemCrosby discusses his solo exhibition at Pippy Houldsworth Gallery with renowned art writer and TV presenterMatthew Collings. This conversation gives an insight into Crosby's process, influences and his unique relationship to painting.

Matthew Collings: The art market judges what will sell, not what is the best quality - IQ2 debates

http://www.intelligencesquared.com/events/art-market
Matthew Collings argues against the motion "The art market is the best judge of good art" in this IQ2 deba...

http://www.intelligencesquared.com/events/art-market
Matthew Collings argues against the motion "The art market is the best judge of good art" in this IQ2 debate at Saatchi Gallery on 7th October2011.
Event info:
Picasso's Nude, Green Leaves and Bust became the world's most expensive painting last year when it sold for £65 million. A stupendous price, but one that reflects Picasso's status as one of the giants -- if not the overriding genius -- of 20th-century art. But do the high prices fetched at auction always indicate artistic merit? Aren't they often the result of a fraught bidding war between two super-rich collectors? Doesn't the $25 million stumped up for Jeff Koons' giant balloon model say more about the power of hype than the merit of the work itself? What's more, the market itself can easily be rigged. When Damien Hirst's diamond encrusted skull was purportedly sold for £50 million in 2007, rumour had it that Hirst himself was part of the consortium that bought it in order to drum up publicity and raise the market value of his other work.
So does the art market tell us only about fads and fashion and the egos of multimillionaires? Or should we overlook the hype and remember that in the long run the market rights itself and reflects the consensus on what great art really is? Come to the debate and hear the InternationalDirector at Christie's and top critics and experts thrash out the arguments.

http://www.intelligencesquared.com/events/art-market
Matthew Collings argues against the motion "The art market is the best judge of good art" in this IQ2 debate at Saatchi Gallery on 7th October2011.
Event info:
Picasso's Nude, Green Leaves and Bust became the world's most expensive painting last year when it sold for £65 million. A stupendous price, but one that reflects Picasso's status as one of the giants -- if not the overriding genius -- of 20th-century art. But do the high prices fetched at auction always indicate artistic merit? Aren't they often the result of a fraught bidding war between two super-rich collectors? Doesn't the $25 million stumped up for Jeff Koons' giant balloon model say more about the power of hype than the merit of the work itself? What's more, the market itself can easily be rigged. When Damien Hirst's diamond encrusted skull was purportedly sold for £50 million in 2007, rumour had it that Hirst himself was part of the consortium that bought it in order to drum up publicity and raise the market value of his other work.
So does the art market tell us only about fads and fashion and the egos of multimillionaires? Or should we overlook the hype and remember that in the long run the market rights itself and reflects the consensus on what great art really is? Come to the debate and hear the InternationalDirector at Christie's and top critics and experts thrash out the arguments.

ArtEast with Matthew Collings

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

"The Power of Abstraction" with Prof. Barbara Liskov

On Abstraction – Zach Tellman

The software industry is awash in folk wisdom. The "rule of three" tells us that we should only create a generic implementation once we've solved a problem three times. The Knuth quote about "premature optimization" either tells us that optimization is always bad, or bad 97% of the time, depending on how much of the quote we bothered to read.
None of these prescriptions describe a context in which they might not apply. Taken literally, most are wildly misleading. To use them properly, we must already have a nuanced understanding of software.
This talk presents a framework to intuit these same insights, but also their boundaries. It provides concepts and vocabulary that enable the viewer to not only explain how a problem should be solved, but why.

published: 05 Sep 2017

Hilma af Klint - A Pioneer of Abstraction (eng.sub)

Hilma af Klint (October 26, 1862– October 21, 1944) was a Swedish artist and mystic whose paintings were amongst the first abstract art..diagrams, were a visual representation of complex spiritual ideas.
Like Vassily Kandinsky, Piet Mondrian and Kazimir Malevich, who have previously been regarded as the main protagonists of abstract art, Hilma af Klint was influenced by contemporary spiritual movements, such as spiritism, theosophy and, later, anthroposophy. Hilma af Klint’s oeuvre builds on the awareness of a spiritual dimension of consciousness, an aspect that was being marginalised in an increasingly materialistic world. When she painted, she believed that a higher consciousness was speaking through her. In her astonishing works she combines geometric shapes and symbols with ornamentati...

published: 11 Aug 2014

Rules of Composition & more – Ep.15 Oil Painting Q&A with Mark Carder

If you have a question for me, post it in the comments below. I'll answer as many as I can in the next episode. Here are links to each question answered in this video:
00:08 — a lesson on composition and color theory
30:50 — How do you clean Geneva paint from your brushes when you're done painting for the day?
32:03 — How do you restore brushes with wayward bristles?
33:44 — Do you always mix your own black with burnt umber and ultramarine?
34:53 — If your printer can make certain colors that you can't match with your palette, why not use a CMYK palette instead of an RYB palette?
37:58 — I am trying to achieve a more painterly look but when I do that my paintings come out worse than when I am just copying a photograph in a very precise and realistic way. How can I learn to paint more...

published: 26 Sep 2015

Pier Vittorio Aureli - Design Without Qualities: Architecture and the Rise of Abstraction - Part 1

Lecture date: 2013-10-16
A Brief History of Abstraction in Architecture: Design and the Administration of Life
'Let us hope that from time to time the individual will give a little humanity to the masses, who one day will repay him with compound interest.'
Walter Benjamin, 'Experience and Poverty', 1933
Abstraction addresses the process of removal in order to reach the essential datum of things. In a design world increasingly dominated by organic and redundant forms, abstraction is likely to be one of the most unpopular concepts in the field of architectural theory. While it is a mistake to think abstraction opposes the complexities and contradictions of our world, we deny that it is the very outcome of larger historical and cultural forces.
PierVittorio Aureli will investigate the...

published: 09 Oct 2015

Abstract Expressionism Lecture

This video lecture on Abstract Expressionism was created for my Modern Literature & the Arts class.
Find a specific section:
0:00:10 What is Abstract Expressionism?
0:01:53 The Beginning of Abstract Expressionism/1930s
0:03:17 The Early1940s and World War II
0:10:28 The Height of Abstract Expressionism/1950s
0:11:47 Characteristics of Abstract Expressionism
0:15:57 Methods of Abstract Expressionism
0:21:03 KeyAbstract Expressionist Artists and their Work
0:44:21 Decline of Abstract Expressionism/1960s
0:45:38 The Legacy of Abstract Expressionism
*Please note* I am not a professor and do have any kind of credentials for the knowledge shared in this video. This was simply a video put together for a class project.
All content is used for educational and non-profit purposes, and i...

published: 13 Apr 2015

Metropolis urban abstract painting demonstration

Full painting demo for "Metropolis" urban abstract art painting by RandallMarmet'. FREE abstract art lessons here:
Find out where to but art materials at the best price... Learn techniques and tricks! All for FREE! Here: http://goo.gl/oWmP9u

http://artfusionart.com.au/
Visit http://www.artfusionproductions.com.au to learn how to paint large abstract art. AustralianAbstractArtistGlenn Farquhar will teach you the secrets of how to paint different abstract art techniques. Beginners to experienced artist around the world have benifited from the secrets Glenn shares in his art lessons. You can learn via DVDor you can learn via a instant download art lesson. Vistit the website for art galleries, art ideas for abstract art and interior design and much more.....

published: 23 May 2012

Abstract Art Painting Techniques Fun Simple HowTo Color Depth

Mix Lang' DVD's now available at http://MLangArt.com or http://www.ebay.com/itm/Painting-Instruction-DVDs-set-Mix-Lang-/231248435504?pt=LH_DefaultDomain_0&hash=item35d77b1930 Creating depth and movement using size, color value, shading and blending

published: 22 Sep 2017

ABSTRACT ART LESSON

WWW.ABSTRACTARTLESSON.COM
This high definition (hd) abstract art video is presented to you by Peter Dranitsin abstract artist from Cleveland Ohio.
Throughout this video you I will guide you through the creation process. I will explain and show you the tools you that you will need for this particular painting. This video will also demonstrate how simple it is to make drastic changes to the abstract painting changing the look of it completely, arriving at the end with completely different results than initially planned.
Creating an abstract painting is really about enjoying the process of creating something unusual and unpredictable. Abstract painting enables us to be free of all worries in our lives and allow our right brains to take over. Are you an artist? Have you ever experienced a...

published: 11 Apr 2014

History of Modern Art Documentary

Various forms of art such as Impressionism, Pointillism, Art nouveau, post impressionism, fauvism, expressionism, cubism, futurism, de stijl, abstract expressionism and minimalism are being discussed in detail along with the famous artists who have contributed for the modernized art forms in this documentary.

ArtEast with Matthew Collings

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly c...

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

The software industry is awash in folk wisdom. The "rule of three" tells us that we should only create a generic implementation once we've solved a problem three times. The Knuth quote about "premature optimization" either tells us that optimization is always bad, or bad 97% of the time, depending on how much of the quote we bothered to read.
None of these prescriptions describe a context in which they might not apply. Taken literally, most are wildly misleading. To use them properly, we must already have a nuanced understanding of software.
This talk presents a framework to intuit these same insights, but also their boundaries. It provides concepts and vocabulary that enable the viewer to not only explain how a problem should be solved, but why.

The software industry is awash in folk wisdom. The "rule of three" tells us that we should only create a generic implementation once we've solved a problem three times. The Knuth quote about "premature optimization" either tells us that optimization is always bad, or bad 97% of the time, depending on how much of the quote we bothered to read.
None of these prescriptions describe a context in which they might not apply. Taken literally, most are wildly misleading. To use them properly, we must already have a nuanced understanding of software.
This talk presents a framework to intuit these same insights, but also their boundaries. It provides concepts and vocabulary that enable the viewer to not only explain how a problem should be solved, but why.

Hilma af Klint (October 26, 1862– October 21, 1944) was a Swedish artist and mystic whose paintings were amongst the first abstract art..diagrams, were a visual representation of complex spiritual ideas.
Like Vassily Kandinsky, Piet Mondrian and Kazimir Malevich, who have previously been regarded as the main protagonists of abstract art, Hilma af Klint was influenced by contemporary spiritual movements, such as spiritism, theosophy and, later, anthroposophy. Hilma af Klint’s oeuvre builds on the awareness of a spiritual dimension of consciousness, an aspect that was being marginalised in an increasingly materialistic world. When she painted, she believed that a higher consciousness was speaking through her. In her astonishing works she combines geometric shapes and symbols with ornamentation. Her multifaceted imagery strives to give insights into the different dimensions of existence, where microcosm and macrocosm reflect one another.
Hilma af Klint left more than 1,000 paintings, watercolours and sketches. Although she exhibited her early, representational works, she refused to show her abstract paintings during her lifetime. In her will, she stipulated that these groundbreaking works must not be shown publicly until 20 years after her death. She was convinced that only then would the world be fully and completely ready to understand their significance.

Hilma af Klint (October 26, 1862– October 21, 1944) was a Swedish artist and mystic whose paintings were amongst the first abstract art..diagrams, were a visual representation of complex spiritual ideas.
Like Vassily Kandinsky, Piet Mondrian and Kazimir Malevich, who have previously been regarded as the main protagonists of abstract art, Hilma af Klint was influenced by contemporary spiritual movements, such as spiritism, theosophy and, later, anthroposophy. Hilma af Klint’s oeuvre builds on the awareness of a spiritual dimension of consciousness, an aspect that was being marginalised in an increasingly materialistic world. When she painted, she believed that a higher consciousness was speaking through her. In her astonishing works she combines geometric shapes and symbols with ornamentation. Her multifaceted imagery strives to give insights into the different dimensions of existence, where microcosm and macrocosm reflect one another.
Hilma af Klint left more than 1,000 paintings, watercolours and sketches. Although she exhibited her early, representational works, she refused to show her abstract paintings during her lifetime. In her will, she stipulated that these groundbreaking works must not be shown publicly until 20 years after her death. She was convinced that only then would the world be fully and completely ready to understand their significance.

Rules of Composition & more – Ep.15 Oil Painting Q&A with Mark Carder

If you have a question for me, post it in the comments below. I'll answer as many as I can in the next episode. Here are links to each question answered in this...

If you have a question for me, post it in the comments below. I'll answer as many as I can in the next episode. Here are links to each question answered in this video:
00:08 — a lesson on composition and color theory
30:50 — How do you clean Geneva paint from your brushes when you're done painting for the day?
32:03 — How do you restore brushes with wayward bristles?
33:44 — Do you always mix your own black with burnt umber and ultramarine?
34:53 — If your printer can make certain colors that you can't match with your palette, why not use a CMYK palette instead of an RYB palette?
37:58 — I am trying to achieve a more painterly look but when I do that my paintings come out worse than when I am just copying a photograph in a very precise and realistic way. How can I learn to paint more like Sargent, Sorolla, etc? Copying the masters?

If you have a question for me, post it in the comments below. I'll answer as many as I can in the next episode. Here are links to each question answered in this video:
00:08 — a lesson on composition and color theory
30:50 — How do you clean Geneva paint from your brushes when you're done painting for the day?
32:03 — How do you restore brushes with wayward bristles?
33:44 — Do you always mix your own black with burnt umber and ultramarine?
34:53 — If your printer can make certain colors that you can't match with your palette, why not use a CMYK palette instead of an RYB palette?
37:58 — I am trying to achieve a more painterly look but when I do that my paintings come out worse than when I am just copying a photograph in a very precise and realistic way. How can I learn to paint more like Sargent, Sorolla, etc? Copying the masters?

published:26 Sep 2015

views:96646

back

Pier Vittorio Aureli - Design Without Qualities: Architecture and the Rise of Abstraction - Part 1

Lecture date: 2013-10-16
A Brief History of Abstraction in Architecture: Design and the Administration of Life
'Let us hope that from time to time the individual will give a little humanity to the masses, who one day will repay him with compound interest.'
Walter Benjamin, 'Experience and Poverty', 1933
Abstraction addresses the process of removal in order to reach the essential datum of things. In a design world increasingly dominated by organic and redundant forms, abstraction is likely to be one of the most unpopular concepts in the field of architectural theory. While it is a mistake to think abstraction opposes the complexities and contradictions of our world, we deny that it is the very outcome of larger historical and cultural forces.
PierVittorio Aureli will investigate the issue of abstraction and its relation to architectural form to propose a different interpretation of this historical phenomenon. Paraphrasing Marx, abstraction – in the form of categories such as geometry, measure, modularity and scale – was born out of ‘fire and blood’, and the historical evolution of abstract forms in architecture, such as the rise of modular design, the importance of the plan in architectural design, and the simplification of architectural form, has taken place amid political conflicts and economic turmoil. The seminar will attempt to read issues such as form and design in relation to the history of political economy, revisiting the work of numerous architects along the way, in order to uncover abstraction not as stylistic movement, but as the very essence of the modern project of architecture.
Transcription:
PIER VITTORIO AURELI: This six lunchtime lectures are an attempt to theorize the concept of abstraction within architecture. There is one big warning about the seminar, that it is not my intention to present an idea of an abstract architecture, which I find a clumsy definition. It is not the intention to present abstraction as a style, even if it is an important clue to understand the problem of abstraction. My intention is to define abstraction as a condition, as a historical condition that can be understood as a fundamental phenomena of modernity, with impact in many spheres, including architecture. The problem is that while in other fields, especially in the arts, there have been quite profound and sometimes controversial definitions of what is abstraction (in poetry, literature, dance), in architecture is very unclear how abstraction has emerged. There is very little literature that has attempted to define the problem of abstraction and even this literature usually addresses abstraction as a style. In a time where we are submerged by complexity and redundancy of forms it is very likely to be an unpopular topic. Again, I really stress that this lectures should not be understood as a promotion of a return to abstraction. In that sense, the first session of today is an attempt to introduce this process of historicizing abstraction. Abstraction is a reflection of a fundamental problem of modernity, which is the unprecedented problem of administrating life. Perhaps because of the lack of literature mentioned it is useful to rehearse briefly the idea of abstraction within the history of painting, especially in the twentieth century. In painting, the problem of abstraction has been felt very radically, because it is precisely within the realm of painting that the polemic of abstraction became very manifest as the opposite of representation. The reason why Western art was so attached, until the twentieth century, to the problem of representation is because it has been one of the fundamental assets of Christian ideology. Christianity is actually a religion that has attempted to establish itself historically, not only in religious terms (we measure our time since the birth of Christ), and therefore representation within Christian art has always played a fundamental role. It is possible to say that the removal of representation from painting was a radical act of secularizing painting. It is a process that started not within representation or painting itself, but through the debates around aesthetic problems. Aesthetics, a science of perception, started this process of removal of the experience of pure forms, colours, supports—the material properties of art—from any content. In fact, what it is actually considered pioneering works within abstract painting, Kazimir Malevich’s famous black square, which is dated 1915, even if Malevich dated it 1913, can be considered not just a pioneering act of abstraction, but on the

Lecture date: 2013-10-16
A Brief History of Abstraction in Architecture: Design and the Administration of Life
'Let us hope that from time to time the individual will give a little humanity to the masses, who one day will repay him with compound interest.'
Walter Benjamin, 'Experience and Poverty', 1933
Abstraction addresses the process of removal in order to reach the essential datum of things. In a design world increasingly dominated by organic and redundant forms, abstraction is likely to be one of the most unpopular concepts in the field of architectural theory. While it is a mistake to think abstraction opposes the complexities and contradictions of our world, we deny that it is the very outcome of larger historical and cultural forces.
PierVittorio Aureli will investigate the issue of abstraction and its relation to architectural form to propose a different interpretation of this historical phenomenon. Paraphrasing Marx, abstraction – in the form of categories such as geometry, measure, modularity and scale – was born out of ‘fire and blood’, and the historical evolution of abstract forms in architecture, such as the rise of modular design, the importance of the plan in architectural design, and the simplification of architectural form, has taken place amid political conflicts and economic turmoil. The seminar will attempt to read issues such as form and design in relation to the history of political economy, revisiting the work of numerous architects along the way, in order to uncover abstraction not as stylistic movement, but as the very essence of the modern project of architecture.
Transcription:
PIER VITTORIO AURELI: This six lunchtime lectures are an attempt to theorize the concept of abstraction within architecture. There is one big warning about the seminar, that it is not my intention to present an idea of an abstract architecture, which I find a clumsy definition. It is not the intention to present abstraction as a style, even if it is an important clue to understand the problem of abstraction. My intention is to define abstraction as a condition, as a historical condition that can be understood as a fundamental phenomena of modernity, with impact in many spheres, including architecture. The problem is that while in other fields, especially in the arts, there have been quite profound and sometimes controversial definitions of what is abstraction (in poetry, literature, dance), in architecture is very unclear how abstraction has emerged. There is very little literature that has attempted to define the problem of abstraction and even this literature usually addresses abstraction as a style. In a time where we are submerged by complexity and redundancy of forms it is very likely to be an unpopular topic. Again, I really stress that this lectures should not be understood as a promotion of a return to abstraction. In that sense, the first session of today is an attempt to introduce this process of historicizing abstraction. Abstraction is a reflection of a fundamental problem of modernity, which is the unprecedented problem of administrating life. Perhaps because of the lack of literature mentioned it is useful to rehearse briefly the idea of abstraction within the history of painting, especially in the twentieth century. In painting, the problem of abstraction has been felt very radically, because it is precisely within the realm of painting that the polemic of abstraction became very manifest as the opposite of representation. The reason why Western art was so attached, until the twentieth century, to the problem of representation is because it has been one of the fundamental assets of Christian ideology. Christianity is actually a religion that has attempted to establish itself historically, not only in religious terms (we measure our time since the birth of Christ), and therefore representation within Christian art has always played a fundamental role. It is possible to say that the removal of representation from painting was a radical act of secularizing painting. It is a process that started not within representation or painting itself, but through the debates around aesthetic problems. Aesthetics, a science of perception, started this process of removal of the experience of pure forms, colours, supports—the material properties of art—from any content. In fact, what it is actually considered pioneering works within abstract painting, Kazimir Malevich’s famous black square, which is dated 1915, even if Malevich dated it 1913, can be considered not just a pioneering act of abstraction, but on the

This video lecture on Abstract Expressionism was created for my Modern Literature & the Arts class.
Find a specific section:
0:00:10 What is Abstract Expressionism?
0:01:53 The Beginning of Abstract Expressionism/1930s
0:03:17 The Early1940s and World War II
0:10:28 The Height of Abstract Expressionism/1950s
0:11:47 Characteristics of Abstract Expressionism
0:15:57 Methods of Abstract Expressionism
0:21:03 KeyAbstract Expressionist Artists and their Work
0:44:21 Decline of Abstract Expressionism/1960s
0:45:38 The Legacy of Abstract Expressionism
*Please note* I am not a professor and do have any kind of credentials for the knowledge shared in this video. This was simply a video put together for a class project.
All content is used for educational and non-profit purposes, and is legal to use under fair use.

This video lecture on Abstract Expressionism was created for my Modern Literature & the Arts class.
Find a specific section:
0:00:10 What is Abstract Expressionism?
0:01:53 The Beginning of Abstract Expressionism/1930s
0:03:17 The Early1940s and World War II
0:10:28 The Height of Abstract Expressionism/1950s
0:11:47 Characteristics of Abstract Expressionism
0:15:57 Methods of Abstract Expressionism
0:21:03 KeyAbstract Expressionist Artists and their Work
0:44:21 Decline of Abstract Expressionism/1960s
0:45:38 The Legacy of Abstract Expressionism
*Please note* I am not a professor and do have any kind of credentials for the knowledge shared in this video. This was simply a video put together for a class project.
All content is used for educational and non-profit purposes, and is legal to use under fair use.

Full painting demo for "Metropolis" urban abstract art painting by RandallMarmet'. FREE abstract art lessons here:
Find out where to but art materials at the best price... Learn techniques and tricks! All for FREE! Here: http://goo.gl/oWmP9u

Full painting demo for "Metropolis" urban abstract art painting by RandallMarmet'. FREE abstract art lessons here:
Find out where to but art materials at the best price... Learn techniques and tricks! All for FREE! Here: http://goo.gl/oWmP9u

http://artfusionart.com.au/
Visit http://www.artfusionproductions.com.au to learn how to paint large abstract art. AustralianAbstractArtistGlenn Farquhar will teach you the secrets of how to paint different abstract art techniques. Beginners to experienced artist around the world have benifited from the secrets Glenn shares in his art lessons. You can learn via DVDor you can learn via a instant download art lesson. Vistit the website for art galleries, art ideas for abstract art and interior design and much more.....

http://artfusionart.com.au/
Visit http://www.artfusionproductions.com.au to learn how to paint large abstract art. AustralianAbstractArtistGlenn Farquhar will teach you the secrets of how to paint different abstract art techniques. Beginners to experienced artist around the world have benifited from the secrets Glenn shares in his art lessons. You can learn via DVDor you can learn via a instant download art lesson. Vistit the website for art galleries, art ideas for abstract art and interior design and much more.....

Abstract Art Painting Techniques Fun Simple HowTo Color Depth

Mix Lang' DVD's now available at http://MLangArt.com or http://www.ebay.com/itm/Painting-Instruction-DVDs-set-Mix-Lang-/231248435504?pt=LH_DefaultDomain_0&hash...

Mix Lang' DVD's now available at http://MLangArt.com or http://www.ebay.com/itm/Painting-Instruction-DVDs-set-Mix-Lang-/231248435504?pt=LH_DefaultDomain_0&hash=item35d77b1930 Creating depth and movement using size, color value, shading and blending

Mix Lang' DVD's now available at http://MLangArt.com or http://www.ebay.com/itm/Painting-Instruction-DVDs-set-Mix-Lang-/231248435504?pt=LH_DefaultDomain_0&hash=item35d77b1930 Creating depth and movement using size, color value, shading and blending

ABSTRACT ART LESSON

WWW.ABSTRACTARTLESSON.COM
This high definition (hd) abstract art video is presented to you by Peter Dranitsin abstract artist from Cleveland Ohio.
Throughout...

WWW.ABSTRACTARTLESSON.COM
This high definition (hd) abstract art video is presented to you by Peter Dranitsin abstract artist from Cleveland Ohio.
Throughout this video you I will guide you through the creation process. I will explain and show you the tools you that you will need for this particular painting. This video will also demonstrate how simple it is to make drastic changes to the abstract painting changing the look of it completely, arriving at the end with completely different results than initially planned.
Creating an abstract painting is really about enjoying the process of creating something unusual and unpredictable. Abstract painting enables us to be free of all worries in our lives and allow our right brains to take over. Are you an artist? Have you ever experienced a creative block? If so, get into the "abstract zone." Grab a brush and some paint, find a surface to paint and let your instincts guide you through the creative process.
Abstract painting sets you free! And than you ask what is abstract art or abstract painting? It stands for achieving its effect through color and shapes rather than attempting to represent recognizable reality. In other words, your painting doesn't have to look like anything recognizable. It can be simply made up of shapes lines, colors, and/or textures. There are no rules, no right or wrong way to paint what is in your heart.
Whatever kind of person you are, your feelings can change from day to day. Express your mood of the moment - anger, joy, peace, sorrow - in your choice of colors, textures, shapes, and quality of line.
Abstract art is the most fulfilling and joyful process that you'll ever experience. Don't wait for tomorrow and discover what you are capable of today. All you need is what you already have - its in your heart.
Peter Dranitsin
http://www.abstractartlesson.com

WWW.ABSTRACTARTLESSON.COM
This high definition (hd) abstract art video is presented to you by Peter Dranitsin abstract artist from Cleveland Ohio.
Throughout this video you I will guide you through the creation process. I will explain and show you the tools you that you will need for this particular painting. This video will also demonstrate how simple it is to make drastic changes to the abstract painting changing the look of it completely, arriving at the end with completely different results than initially planned.
Creating an abstract painting is really about enjoying the process of creating something unusual and unpredictable. Abstract painting enables us to be free of all worries in our lives and allow our right brains to take over. Are you an artist? Have you ever experienced a creative block? If so, get into the "abstract zone." Grab a brush and some paint, find a surface to paint and let your instincts guide you through the creative process.
Abstract painting sets you free! And than you ask what is abstract art or abstract painting? It stands for achieving its effect through color and shapes rather than attempting to represent recognizable reality. In other words, your painting doesn't have to look like anything recognizable. It can be simply made up of shapes lines, colors, and/or textures. There are no rules, no right or wrong way to paint what is in your heart.
Whatever kind of person you are, your feelings can change from day to day. Express your mood of the moment - anger, joy, peace, sorrow - in your choice of colors, textures, shapes, and quality of line.
Abstract art is the most fulfilling and joyful process that you'll ever experience. Don't wait for tomorrow and discover what you are capable of today. All you need is what you already have - its in your heart.
Peter Dranitsin
http://www.abstractartlesson.com

Various forms of art such as Impressionism, Pointillism, Art nouveau, post impressionism, fauvism, expressionism, cubism, futurism, de stijl, abstract expressionism and minimalism are being discussed in detail along with the famous artists who have contributed for the modernized art forms in this documentary.

Various forms of art such as Impressionism, Pointillism, Art nouveau, post impressionism, fauvism, expressionism, cubism, futurism, de stijl, abstract expressionism and minimalism are being discussed in detail along with the famous artists who have contributed for the modernized art forms in this documentary.

1/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

5/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

2/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

4/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

3/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

6/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

The Case for Abstraction | The Art Assignment | PBS Digital Studios

For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Hear our case for Minimalism: https://youtu.be/XEi0Ib-nNGo
Subscribe for new episodes of The Art Assignment every Thursday!
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8 Painting Styles of Abstraction

Script:
8 different Painting Styles of Abstraction
Pointillism is a technique of painting in which small, dots of pure color are applied in patterns to form an image. Georges Seurat developed the technique in 1886. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. The practice of Pointillism contrasts with the traditional methods of blending pigments on a palette. Pointillism is similar to the process used by printers, televisions and computer monitors to represent image in color.
Vincent van Gogh's style was characterized by bold, dramatic brush strokes, which expressed emotion and added a feeling of movement to his works. Rather than using realistic colours, he often used paint straight from the tube and deliberately used colors to capture his moods.
Fauvism is the style of les Fauves. Les Fauves is French for 'the wild beasts'. Fauvist style began around 1900 and continued beyond 1910. The leaders of the movement were Henri Matisse and André Derain. The paintings of the Fauves were characterized by wild brush work and bright colours. Their subject matter was abstracted and simplified. Fauvism can be classified as a development of Van Gogh's style fused with Pointillism.
Expressionism originated in Germany at the beginning of the 20th century. Paintings in the expressionist style present the world from the artist's personal perspective through distorting figures and strong colours used for emotional effect in order to evoke moods. Expressionist artists sought to express meaning or experience sometimes suggestive of emotional angst.
Cubism was pioneered by Picasso and Braque. The first Cubist exhibition happened in 1911 in Paris. In Cubist artwork, objects are broken up and reassembled in an abstracted form. Cubist paintings have flattened volume and subdued colours. Subjects of the painting are depicted from multiple viewpoints and confused perspectives which can make it difficult to distinguish objects from each other and from the space they inhabit.
Futurism originated in Italy in the early 20th century and was founded by Filippo Tommaso Marinetti. It emphasized and glorified themes associated with concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. The Futurist painters developed a style by breaking color down into a field of stippled dots and stripes.
Around 1913, David Bomberg was interested in Cubism. He wanted to create a new visual language to express his perceptions of the modern industrial city. He want to translate the life of a great city, its motion, its machinery, into an art based on simplified figure drawings. Bomberg superimposed a grid to break up the composition into geometric sections and used flat colours to obscure the original subject. His paintings have dynamic angular features.
Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, in 1915. Suprematism is an art based upon pure artistic feeling expressed through geometric abstraction rather than on realistic visual depiction of objects.
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Art & Painting : What Is Abstract Art?

Abstract art encompasses several genres of art, but generally it is art that utilizes color, line and shapes to convey a message or a feeling instead of using a narrative of subject matters. Find examples of abstract art with information from an experienced artist in this free video on art.
Expert: Koorosh Angali
Contact: www.angali.com
Bio: Dr. Koorosh Angali is an accomplished scholar, poet, musician, actor and performance artist.
Filmmaker: ToddGreen

1:00:03

On Abstraction – Zach Tellman

The software industry is awash in folk wisdom. The "rule of three" tells us that we shoul...

On Abstraction – Zach Tellman

The software industry is awash in folk wisdom. The "rule of three" tells us that we should only create a generic implementation once we've solved a problem three times. The Knuth quote about "premature optimization" either tells us that optimization is always bad, or bad 97% of the time, depending on how much of the quote we bothered to read.
None of these prescriptions describe a context in which they might not apply. Taken literally, most are wildly misleading. To use them properly, we must already have a nuanced understanding of software.
This talk presents a framework to intuit these same insights, but also their boundaries. It provides concepts and vocabulary that enable the viewer to not only explain how a problem should be solved, but why.

ArtEast with Matthew Collings

Amitajyoti in conversation with Matthew Collings about his lifee and art.
Matthew Collings is a painter, art critic, writer and broadcaster. He has a monthly column in ArtReview and has written and presented many TV documentaries on art and culture, including This is Modern Art, This IsCivilisation, Rules of Abstraction and What isBeauty. As a painter he collaborates with Emma Biggs, a mosaic artist, writer and tutor, creating works that explore the themes of light and perception.

Matthew Collings at the Oxford Union part 1/2

Matthew Collings, art writer and broadcaster, sums up in opposition to the motion, "This House Believes that conceptual art just isn't Art", at the Oxford Union, 5 November 2009.
In proposition: Alice Thomas, David Armitage, Mark Leckey, and Charles Thomson.
In opposition: Dr Stephen Deuchar, Miroslaw Balka, Adrian Searle, and Matthew Collings.
The motion was defeated.
Used by kind permission of Matthew Collings.
Video from footage courtesy of RickFriend: http://www.productionfriend.com
Apologies for the poor quality of this video. It was recorded purely for research and not intended for viewing. We thought it was of sufficient interest to make it available anyway.
See Matthew Collings part 2 at: http://www.youtube.com/watch?v=db11xUM7MAA
See Charles Thomson's speech at: http://www.youtube.com/watch?v=0UBGUF0C_XM

1/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

4/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

5/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

3/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

2/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.

Presented March 21, 2013 at the Nasher Sculpture Center.
British artist and arts communicatorMatthew Collings of Biggs & Collings gives a presentation discussing the reflections of Art History present in his collaborative painting practice with mosaic artist Emma Biggs.
Biggs and Collings are interested in something they have noticed by looking at art from the past. Art, as it used to be understood, has come to an end. But what strikes them is that old ideas and habits of mind are hard to shake off. Former ways of thinking constantly influence behaviour today. You could say that an example of this phenomenon is the way the aestheticisation of the art object has been replaced by the aestheticisation of the art experience. The thorny issue of how the past is present in what we, as a society, see and do, and the way in which it may differ from what we believe we say and do, is at the heart of Biggs’ and Collings’ work.
Matthew Collings is an English writer-critic/artist/curator/television presenter. Famous in the UK for bringing new developments in art to the attention of a mass audience, Collings’ TV documentaries and books have been described as “knowing,” “sly as a fox” and “hilariously horrible.” The international art magazine, 'Frieze', describes him as a “laconic, affectionately deprecating critic of both his subject and himself.” 'Artforum' described his insiders’ guide to the art scene, 'Blimey! From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst', as “the most popular contemporary art book ever.” The late, revered Brit art critic, David Sylvester, called him “fearless,” and when his six part series 'This IsModern Art' was aired on prime time national TV, it won a BAFTA for its combination of knowledge, humor and icy weirdness.
The Nasher Sculpture Center’s ongoing 360 Speaker Series features conversations and lectures on the ever-expanding definition of sculpture. Guests are invited to witness first-hand accounts of the inspiration behind some of the world’s most innovative artwork, architecture and design.
Find out more about the 360 Speaker Series and view presentation by past speakers at http://www.nashersculpturecenter.org/360
Stay in touch with the Nasher Sculpture Center via social media:
Facebook: https://www.facebook.com/NasherSculptureCenter
Twitter: https://twitter.com/nashersculpture
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Periscope: http://www.periscope.tv/nashersculpture
The 360 videography project is supported by Suzanne and Ansel Aberly. This support enables digital recording of all 360 Speaker Series programs and the creation of an online archive for learners of all ages.

1/4 Turner's Thames

Playlist : https://www.youtube.com/watch?v=aQH29QIyt7Q&index=1&list=PLM4S2hGZDSE6q6_mIZx10iphnzd6vCMVs
First broadcast: Jun 2012.
In this documentary, the presenter and art critic Matthew Collings explores how Turner, the artist of light, makes light the vehicle of feeling in his work, and how he found inspiration for that feeling in the waters of the river Thames.

3:15

Matthew Collings on David Bowie’s Desire for Raw Emotion

Art critic and author Matthew Collings first met David Bowie in 1997 when Bowie was the pu...

Matthew Collings on David Bowie’s Desire for Raw Emotion

Art critic and author Matthew Collings first met David Bowie in 1997 when Bowie was the publisher of his book. Struck by the late icon’s artistic passion, Collings reflects on the works comprising Bowie/Collector to be offered at Sotheby’sLondon on 10–11 November. Ahead of the sale, watch the video to discover how Bowie’s art collection reflects his fascination with those outside society, or as Collings puts it, “the romantic Bohemian.”
Learn More: http://www.sothebys.com/en/auctions/2016/bowie-collector-part-i-modern-contemporary-art-evening-auction-l16142.htmlDownload The Sotheby’s App: https://itunes.apple.com/us/app/sothebys/id1061156465?mt=8
FOR MORE NEWS FROM SOTHEBY’S
Newsletter:http://www.sothebys.com/en/news-video/blogs/all-blogs/sothebys/2017/05/stay-connected.html
Instagram: https://www.instagram.com/sothebys/
Facebook: https://www.facebook.com/sothebys
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David Bowie's private art collection to be unveiled for the first time

David Bowie's private art collection to be unveiled for the first time

The artist and writer Matthew Collings reviews David Bowie's private art collection.
Works the late singer quietly collected over the years to go on display before being auctioned at Sotheby’s
The musician's life as a collector was something he kept almost entirely hidden from public view.
But now, nearly 300 works by artists including Damien Hirst, Henry Moore and Marcel Duchamp will go on display at Sotheby's in London, before being sold at auction in November.
The paintings are collectively expected to fetch more than £10m.
"David Bowie's collection offers a unique insight into the personal world of one of the 20th Century's greatest creative spirits," said OliverBarker, chairman of Sotheby's Europe.
The "Bowie/Collector" three-part sale in November will feature around 400 items from the pop icon's private collection and is seen fetching "in excess of 10 million pounds" ($13.24 million), a spokeswoman for the auction house said.
Bowie, who died aged 69 in January, straddled the worlds of music, fashion, drama and art for five decades, and was known for some of the most innovative songs of his generation.
However his art collector side "was something he kept almost entirely hidden from public view", Sotheby's said.
"Eclectic, unscripted, understated: David Bowie's collection offers a unique insight into the personal world of one of the 20th century's greatest creative spirits," Oliver Barker, Sotheby's Europe chairman, said in a statement.
Among works to be featured is late American artist Jean-Michel Basquiat's "Air Power" painting, estimated between 2.5 million and 3.5 million pounds, and Hirst's kaleidoscopic "Beautiful, Shattering, Slashing, Violent, Pinky, Hacking, Sphincter Painting", seen fetching 250,000–350,000 pounds.
There are also sculptures and design furniture, including a 1960s record player by Italian brothers Achille and Pier Giacomo Castiglioni.
The collection is particularly rich in 20th-centuryBritish art, including two brilliantly coloured “spin” paintings by Hirst, and works by Frank Auerbach, Stanley Spencer, Patrick Caulfield, Peter Lanyon, and Graham Sutherland. He once said of Auerbach’s densely worked, almost sculptural paintings: “My God, yeah. I want to sound like that looks.” He lent – anonymously – a key work, a portrait of Auerbach’s cousin Gerda, to the major retrospective on the artist in 2001.
It will also include Air Power, a major graffiti painting by the American artist Jean-Michel Basquiat, which alone is estimated by Sotheby’s to be worth up to £3.5m.
The furniture includes pieces by the influential design collective MemphisMilano.
A spokesman for Bowie’s estate said: “David’s art collection was fuelled by personal interest and compiled out of passion. He always sought and encouraged loans from the collection and enjoyed sharing the works in his custody.
“Though his family are keeping certain pieces of particular personal significance, it is now time to give others the opportunity to appreciate – and acquire – the art and objects he so admired.”

6/6 The Rules Of Abstraction With Matthew Collings

https://www.youtube.com/watch?v=Bg3oQ_OqQ_o&list=PLM4S2hGZDSE5SOht-nruKVOvuR5lrCw2T&index=1
First broadcast: Sep 2014.
Documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years, whilst trying to answer a set of basic questions that many people have about this often-baffling art form. How do we respond to abstract art when we see it? Is it supposed to be hard or easy? When abstract artists chuck paint about with abandon, what does it mean? Does abstract art stand for something or is it supposed to be understood as just itself?
These might be thought of as unanswerable questions, but by looking at key historical figures and exploring the private world of abstract artists today, Collings shows that there are, in fact, answers.
Living artists in the programme create art in front of the camera using techniques that seem outrageously free, but through his friendly-yet-probing interview style Collings immediately establishes that the work always has a firm rationale. When Collings visits 92-year-old Bert Irvin in his studio in Stepney, east London he finds that the colourful works continue experiments in perceptual ideas about colour and space first established by abstract art pioneers such as Paul Klee and Wassily Kandinsky in the 1910s.
Other historic artists featured in the programme include the notorious Jackson Pollock, the maker of drip paintings, and Mark Rothko, whose abstractions often consist of nothing but large expanses of red. Collings explains the inner structure of such works. It turns out there are hidden rules to abstraction that viewers of this intriguing, groundbreaking programme may never have expected.